As early as between 708 and 665 B. C., Archilochus brought to perfection a poetry worthy of loftier passions than those which mostly animated his headstrong and angry genius. In 625 (thirty-one years before the legislation of Solon) flourished Arion, the Lesbian, who, at Corinth, carried, to extraordinary perfection the heroic adaptation of song to choral music. In 611 flourished the Sicilian, Stersichorus --no unworthy rival of Arion; while simultaneously, in strains less national and Grecian, and more resembling the inspiration of modern minstrels, Alcaeus vented his burning and bitter spirit;--and Sappho (whose chaste and tender muse it was reserved for the chivalry of a northern student, five-and-twenty centuries after the hand was cold and the tongue was mute, to vindicate from the longest-continued calumny that genius ever endured) [177] gave to the most ardent of human passions the most delicate colouring of female sentiment. Perhaps, of all that Greece has bequeathed to us, nothing is so perfect in its concentration of real feeling as the fragments of Sappho. In one poem of a few lines--nor that, alas! transmitted to us complete--she has given a picture of the effect of love upon one who loves, to which volumes of the most eloquent description could scarcely add a single new touch of natural pathos--so subtle is it, yet so simple. I cannot pass over in silence the fragments of Mimnermus (fl. B. C. 630)--they seem of an order so little akin to the usual character of Grecian poetry; there is in them a thoughtful though gloomy sadness, that belongs rather to the deep northern imagination than the brilliant fancies of the west; their melancholy is mixed with something half intellectual--half voluptuous--indicative of the mournful but interesting wisdom of satiety. Mimnermus is a principal model of the Latin elegiac writers--and Propertius compares his love verses with those of Homer. Mimnermus did not invent the elegiac form (for it was first applied to warlike inspiration by another Ionian poet, Callinus); but he seems the founder of what we now call the elegiac spirit in its association of the sentiment of melancholy with the passion of love. IX. While such was the state of POETRY in Greece--torpid in the Ionian Athens, but already prodigal in her kindred states of Asia and the Isles; gravely honoured, rather than produced, in Sparta;-- splendidly welcomed, rather than home-born, in Corinth;--the Asiatic colonies must also claim the honour of the advance of the sister arts. But in architecture the Dorian states of European Greece, Sicyon, Aegina, and the luxurious Corinth, were no unworthy competitors with Ionia.